Manchester United fans will no doubt seek solace for their European Cup defeat by turning in their droves to Eric Cantona in Ken Loach's lovely crowd-pleasing new film, Looking for Eric. There, at least, they can watch their team banging in the goals of yesteryear, when Eric the King ruled and helped propel them to their current lofty perch. Sir Alex Ferguson's a huge Loach fan. But I understand that some Cantona goals didn't make the final cut of the montages that adorn the film. Particularly a couple , of which Eric himself was proud, against Arsenal. Loach's long-standing editor is a passionate Gunners fan and couldn't bear to include humiliation of his team (and mine) at the hands of Fergie's men, so I gather he managed to persuade Loach that these goals disrupted the rhythm of the piece, the flow of narrative and the construction of meaning. Genius. So now when you see the film next month and watch a lovely Cantona goal going in against Tottenham, you'll know why.

Reservoir of Tarantino

The version of Inglourious Basterds seen at Cannes will no doubt be different from the one released on screens in late August. I hear Quentin Tarantino (right) is back in the editing suite, reinstating some scenes he deleted for Cannes, scenes that flesh out more the identity of the group of Basterds, the Jewish-American squadron who scalp Nazis. Quentin does this regularly. There are at least three versions of Kill Bill and two of Death Proof, and I understand that there is even enough extra Inglourious footage for a whole extra movie. Does this make Tarantino a good or bad film-maker? I'm still not sure. Part of me thrills at his jeu d'esprit - his production company is called A Band Apart, after the Godard film. But he also seems to have lost some of the essential cool that made Pulp Fiction so fresh. Whatever, he's still the one director who causes a storm wherever he goes, and that's got to be good news for film-making.

Dancers united

Trash loves a dance movie and is thrilled to hear of a British 3-D version in the making, starring those wonderful crews from Britain's Got Talent, Flawless and Diversity. In classic fashion, the plot of Street Dance, which begins shooting in August, finds the crews having to share a rehearsal space - credit-crunched Britain, right? - with ballet dancers from the Royal Academy of Dance. Although it seems obvious to me who'd win a fight, the two factions realise they must join forces if they're to win the upcoming dance championships. Brilliant. My leg warmers are in the wash.